Self-representation and Illusion in Senecan Tragedy

Littlewood, Cedric

doi:10.1093/acprof:oso/9780199267613.001.0001

Cited by 79 publications

(25 citation statements)

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“…14 See, for instance, Boyle (1997) 132 and (2014) cxv-cxvii and ad Med. 1019Littlewood (2004) 192; Trinacty (2014) 125-6;Winterbottom (1976) 39. 15 On the traceable parallels between Euripides' and Seneca's Medeas, see Costa (1973) 8;Gill (1987);and Lefèvre (1997).…”

Section: Medea's Meta-theatrementioning

confidence: 99%

“…Dupont (1995) 151 makes a similar point specifically in relation to Seneca's Medea. 53 On sadistic spectatorship in Senecan tragedy more generally, see Littlewood (2004) 215-39. of committing murders before she flees. 54 Slaughter and escape are two events that recur, paired, throughout Medea's story: she dismembers her brother, Absyrtos, as she sails from Colchis; she destroys Pelias before departing Thessaly; she leaves behind in Corinth the bodies of Creon, Creusa, and her own two children.…”

Section: Recognition Without Revelationmentioning

confidence: 99%

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Recognition and the Character of Seneca's Medea

Bexley

2016

Camb. class. j.

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The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-pro t purposes provided that:• a full bibliographic reference is made to the original source • a link is made to the metadata record in DRO • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders.Please consult the full DRO policy for further details. Versions of this paper were presented at the University of Edinburgh's Classics Seminar Series, and at the Cambridge Philological Society; lively discussion ensued on both occasions, and I am grateful for the responses I received. I would also like to thank the journal's anonymous reviewers whose suggestions have lead to me clarify and improve the structure of this complex argument. Lastly, thanks are due to Ioannis Ziogas, as always, for his perceptive comments and unstinting encouragement.

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Section: Medea's Meta-theatrementioning

confidence: 99%

Section: Recognition Without Revelationmentioning

confidence: 99%

Recognition and the Character of Seneca's Medea

Bexley

2016

Camb. class. j.

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“…Seneca suggests two options for how Praexaspes should have reacted. He should have either rationally debated automatically renders Seneca's plays anti-or unstoic, see Littlewood 2004, 15-102, and Fischer 2008. 35 Littlewood 2004, 16.…”

Section: Christopher Starmentioning

confidence: 99%

“…In addition, technical aspects of the Stoic theory of the passions are also problematized at points. On the one hand, many of Seneca's as does Littlewood 2004, 50. Schiesaro 2003-51 provides a critique of Brechtian elements in Senecan drama.…”

Section: Christopher Starmentioning

confidence: 99%

Brill's Companion to the Reception of Senecan Tragedy

Robinson¹

2016

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“…B. Schiesaro 2003;Littlewood 2004. Alessandro Schiesaro betrachtet die Möglichkeit einer von einem stoischen Philosophen gedichteten Tragödie gar als einen unlösbaren logischen Widerspruch, Schiesaro 2003, 253: "What we ultimately face is the impossibility of Stoic tragedy.…”

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Der imaginäre Bühnenraum in Senecas Hercules Furens

Kirichenko¹

2016

Philologia Classica

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The goal of this article is to analyze the construction of space in Seneca's Hercules Furens. It argues that the tragedy establishes a multi-tiered structural analogy among three conceptual domains -1) the world of supernatural myth, which cannot be 'shown' on stage and which, for that reason, is described in rhetorically overblown ekphrastic passages, 2) the visually perceptible world of the stage action, and 3) the abstract world of 'human life' . These three conceptual domains form an imaginary hybrid space within which philosophically relevant thought is not so much formulated as staged, thereby producing an emotionally powerful -and potentially transformative -effect on the recipient. In addition to offering a new interpretation of Hercules Furens, this article thus sheds some important light on the vexed issue of the philosophical intent of Senecan tragedy in general.

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Self-representation and Illusion in Senecan Tragedy

Cited by 79 publications

References 0 publications

Recognition and the Character of Seneca's Medea

Recognition and the Character of Seneca's Medea

Brill's Companion to the Reception of Senecan Tragedy

Der imaginäre Bühnenraum in Senecas Hercules Furens

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